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The Barnes Foundation’s current exhibition, Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things, epitomizes the business buzz phrase “disruptive innovation” like few other museum shows (which I wrote about here). Disrupt or die, the thinking goes. Old orders must make way for new. Coincidentally, as the Barnes Foundation, home of Dr. Albert Barnes’ meticulously and idiosyncratically ordered collection of Impressionist and Post-Impressionist masterpieces left just so since his death in 1951, invites outsider artists to question and challenge Dr. Barnes’ old order, it also publishes their own insider’s critical “warts and all” assessment of Dr. Barnes’ relationship to African art and African-Americans. In African Art in the Barnes Foundation: The Triumph of L’Art nègre and the Harlem Renaissance, scholar Christa Clarke reassesses Dr. Barnes intentions and results in his building of the first great African art collection in America. “More than just formal accents to modernist paintings and other Western art in the collection,” Clarke argues, “African art deserves to be seen as central to the aesthetic mission and progressive vision that was at the very heart of the Barnes Foundation.”
President Obama apparently thinks the safer way to justify higher taxes on the super rich is to pitch the proposal based on its deficit-reduction potential. But if he wants to get the ball rolling for meaningful tax reform, Obama will summon his rhetorical powers to explain how the Buffett Rule could help reduce the nation's massive and destructive wealth inequality.
Batwoman is gay. Originally introduced as part of DC Comics’ 52 series as part of a push to introduce more minority superheroes, the new Batwoman was fleshed out by Greg […]